Cultural Capital: Rethinking Art, Business, and Leadership
Written by Jin Cheng
As a History of Art student passionate about art’s broader social and cultural role, I have been motivated by a question that feels increasingly urgent for many of us in the humanities: ‘How can we move beyond critical studies alone and find new ways to connect research, creativity, and practice, creating tangible impact in society?’ In March 2025, I organised and moderated the panel Cultural Capital: Innovating Connections Between Art, Business, and Sustainable Leadership at the King’s E-Lab, hoping to create an open, honest dialogue that moved beyond idealism or cynicism.
I was honoured to be in conversation with three wonderful speakers, who each work at the forefront of art’s intersections with business and leadership: Lucy-Anne Garnett, Senior Art Advisor at Citi Private Bank, who brings deep expertise from decades in art finance and advisory; Sigrid Kirk, Curatorial Strategist and Co-founder of the Association of Women in the Arts (AWITA), a leading advocate for mentorship and inclusivity in the arts; Katy Wickremesinghe, Founder of KTW and The Wick, a cultural entrepreneur building bridges between creative industries and global business strategy.
‘What does it mean to treat art as cultural capital?’
This was the first question I posed, and one that each speaker illuminated through their very different career journeys.
Lucy-Anne shared how art within financial institutions, through collecting, displaying, and commissioning works, can create networks of trust, emotional engagement, and shared cultural values. At Citi Private Bank, art is not merely decoration, it becomes a way to connect with clients on a human level, outside transactional norms.
Sigrid spoke about building networks where culture and commerce genuinely collide, from her early days at Arts & Business to founding AWITA and NXT GEN. She showed how cultural capital is most powerful when it is actively cultivated across disciplines and generations, not reserved for a privileged few.
Katy reflected on how growing up immersed in London’s cultural fabric, and later, working at the intersection of global brands and creative industries, shaped her belief that storytelling is central to how cultural capital moves, builds trust, and creates impact across sectors. Through their answers, I realised that cultural capital is not static: It is a living force, built and renewed through relationships, shared stories, and acts of generosity.
‘Can art and business truly align without compromising artistic integrity?’
This question felt essential, especially today, as more corporations engage with the arts.
Lucy-Anne highlighted that at Citi, investment in art is tied to education, community engagement, and long-term patronage. Commissioning major artists, like Bridget Riley, or supporting exhibitions is not just about prestige, it’s about creating spaces where creativity thrives sustainably.
Sigrid stressed that leaders must constantly balance three forces: the commercial imperative, the authenticity of artistic voices, and the broader ethical and societal impact. This tightrope walk requires transparent values and constant renegotiation, rather than simple formulas.
Katy offered a powerful reminder: Today’s successful businesses increasingly understand that investing in the arts is not charity, it is an investment in cultural intelligence, social connection, and long-term brand integrity. Art can deepen a company’s mission, foster resilience, and create emotional resonance far beyond traditional marketing.
Reflecting on their insights, I saw that art and business can indeed align, but only when leaders approach culture not as a commodity, but as a shared space of meaning and care.
‘How do we make the art world more accessible for new voices?’
This is the question that felt most personal to me - and most urgent.
Lucy-Anne was candid about the persistent class and knowledge barriers that structure much of the traditional art world. From the sharp drop in art education opportunities at state schools to the opaque systems of access in galleries and auctions, she called for more active mentoring, outreach, and educational initiatives, citing programs like Art History Link-Up and her own mentorship work.
Sigrid’s founding of NXT GEN emerged from the recognition that breaking down barriers requires building new communities early in young professionals’ journeys, spaces where diverse talents can connect, collaborate, and reimagine what leadership in the arts should look like.
Katy emphasised that while the commercial art market still prizes scarcity and insider knowledge, technology, content platforms, and initiatives like The Wick are slowly democratising access to art, offering entry points for culturally curious individuals across different backgrounds.
Their responses made me think differently about responsibility: making the art world more inclusive is not only about dismantling structures, it is also about proactively building alternative spaces, where a wider range of voices can grow, thrive, and lead.
Besides inspirations from the speakers, I was also heartened by the positive responses from the audience: students from History of Art, Architecture, Business and beyond shared how the conversation gave them a firmer sense of direction for their futures; Cambridge-based entrepreneurs spoke of new ideas sparked around integrating art into their ventures; early-career artists said they felt better equipped to navigate the art world with confidence. After the panel, many stayed for long conversations with the speakers, and I was delighted to see new connections and even long-term mentorships beginning to form.
I am deeply grateful to Lucy-Anne, Sigrid, and Katy for their generosity, to the King’s E-Lab team for their warm support, and to everyone who brought their curiosity, imagination, and openness into the room. In retrospect, I realise how much my own understanding has evolved since joining the King’s E-Lab programme last October. Through workshops, conversations, and entrepreneurial projects, I started to see that rigorous research and entrepreneurship are not opposites, and that applying creative, critical thinking to real-world challenges can open new avenues for cultural impact and leadership.
These are just the beginning. I look forward to continuing the journey, connecting art, entrepreneurship, and leadership to build more open, vibrant futures.
Jin Cheng
Jin is a third-year History of Art student at Murray Edwards College, Cambridge, passionate about integrating art and cross-cultural connections for social impact. Jin served as President of the Fitzwilliam Museum Society from 2023-2024, where she collaborated with leading industry professionals, gaining valuable insights into the art world whilst honing leadership and public speaking skills. Beyond academics, Jin engages in interdisciplinary projects bridging art and society and joined the E-Lab community in 2024 to explore the intersection of creativity, academia, and entrepreneurship in her future pursuits.